GREAT  ENGRAVERS  :  EDITED  BY  ARTHUR  M.  HIND 


PLOUGHMAN 


Dance  of  Death,  38 


HANS   HOLBEIN 

THE  YOUNGER 

HIS 
OLD  TESTAMENT  ILLUSTRATIONS 

DANCE    OF    DEATH 
AND    OTHER    WOODCUTS 


FREDK.     A.    STOKES      COMPANY 
NEW  YORK  PUBLISHERS 


CHART 


r  A  s. 


HANS  HOLBEIN 
THE   YOUNGER 

Son  of  Hans  Holbein  the  elder,  who  was  an  excellent 
painter,  and  remarkable  for  his  portrait  drawings  in 
silver-point:  b.  1497,  at  Augsburg;  left  Augsburg 
about  1513-1514  with  his  elder  brother  Ambrosius 
Holbein;  settled  in  Basle,  1515,  as  pupil  of  Hans 
Herbster ;  worked  at  Lucerne  between  1517-1519, 
being  commissioned  to  decorate  the  house  of  Jakob  von 
Hertenstein  :  the  influence  of  Lombard  portraiture  on 
his  painting  suggests  a  probable  visit  to  Italy  about 
1518;  returned  to  Basle  and  became  Master  of  the 
Guild  in  1519,  probably  taking  over  the  studio  of  his 
brother  Ambrosius,  of  whom  there  is  no  record  after 
1518  ;  did  much  designing  for  glass  painting  about  this 
date,  also  decorative  paintings  (of  which  practically 
nothing  remains)  for  the  Council  Chamber  in  the 
Rathaus,  1521-1522;  the  earliest  of  his  designs  for 
woodcut  illustrations  date  about  1519;  the  famous 
portraits  of  Erasmus,  who  was  then  living  at  Basle, 
painted  at  this  period  (e.g.,  the  pictures  at  Basle  and 
Paris)  ;  visited  France  1524,  where  acquaintance  with 
chalk  drawings  of  the  Clouet  school  may  have  helped 
to  form  the  later  style  of  his  portrait  drawings  ;  in 
1526  travelled  in  the  Netherlands,  and  settled  for  a 
time  at  Antwerp  ;  paid  his  first  visit  to  England, 

1527,  being  introduced  by  Erasmus  to  Sir  Thomas 
More,  his  earliest  English  patron  ;  returned  to  Basle 

1528,  and  in  1529  was  again  working  for  Basle  pub- 
lishers, designing  illustrations  for  Sebastian  Miinster's 
"  Cosmography  "  (published  1534) ;  Elizabeth  Schmid, 
whom  he  had  married  about   1520   (portrayed   with 
her    two    children    in   a   picture  of  about   1528-9  at 
Basle),  remained  throughout  Holbein's  life  at  Basle ; 
Holbein  again   in   England    1532,   doing   the    famous 
picture  of  the  Ambassadors  (National   Gallery)  about 
this    time;    entered    the   Royal  service  about    1536, 
being   given   apartments  in  Whitehall,  perhaps  over 
the   gate   called   after  him,  "  Holbein's  Gate " ;    en- 
gaged on  wall  decoration   in  the  palace,  and   is  said 
to  have  painted  a  Dance  of  Death  (but  all  his  work 


GREAT  ENGRAVERS 

here  was  destroyed  in  the  fire  of  1698)  ;  the  won- 
derful series  of  chalk  drawings  of  famous  personages 
at  the  court  of  Henry  N^III  (chiefly  preserved  at 
Windsor,  others  at  British  Museum,  &c.)  done  at 
about  this  period  ;  also  reached  the  zenith  of  his  power 
as  a  portrait  painter,  showing  an  unsurpassed  mastery 
and  reserve  in  naturalistic  portrait  ;  undertook  various 
commissions  abroad  for  the  King,  in  Brussels,  Bur- 
gundy, Cleves,  &c.,  1538-1539,  painting  eligible  con- 
sorts for  his  royal  master,  i.e.,  the  Duchess  of  Milan 
and  Anne  of  Cleves;  d.  in  London,  1543,  leaving 
unfinished  the  picture  still  preserved  in  the  Barber- 
Surgeons'  Hall. 

HOLBEIN'S  Images  of  the  Old  Testament*  as  they  were 
called  in  the  English  edition  of  1549,  are  the  most  wonder- 
ful series  of  illustration  to  the  Bible  in  existence.  Even 
outside  the  more  limited  sphere  of  book  illustration  they 
have  practically  no  rivals,  except  the  scriptural  prints  of  Diirer  and 
Rembrandt.  Inspiration  is  so  much  more  often  found  in  separate 
works  than  in  a  series,  that  it  is  all  the  more  remarkable  to  see  so  high  a 
level  of  artistic  power  preserved  throughout  the  ninety-one  uniform 
cuts  that  make  up  Holbein's  Old  Testament. 

In  some  respects  Holbein's  genius  is  pedestrian  in  relation  to  the 
great  masters  I  have  mentioned.  He  has  neither  Diirer's  intellect 
nor  Rembrandt's  passion  and  penetrative  insight.  But  he  is  more 
purely  the  painter  than  either  of  them.  He  depicts  nature  from 
the  outside  with  an  unerring  vision.  His  eye  for  the  facts  of 
life  and  the  details  of  physiognomy  is  so  true,  that  the  heart  of 
things  is  communicated  even  when  it  may  have  escaped  his  own 
understanding. 

It  is  this  ungarnished  truth  to  life,  rather  than  any  interpretative 
insight,  that  chiefly  characterises  Holbein's  woodcuts.  In  some  ways 
it  is  not  a  matter  for  regret  that  he  did  not  continue  his  illustrations 
to  the  New  Testament,  which  had  already  found  a  perfect  inter- 
preter in  Diirer.  Holbein's  simpler  genius  was  more  adapted  to  the 
heroic  narratives  of  Jewish  history,  akin  to  Homer  in  their  direct  and 
naive  appeal. 

In  his  second  great  series,  the   Dance  of  Death,  one  might   have 

*  The  title  of  the  first  edition  of  1538  was  Historiarum  Veteris  Imtru- 
mentl  Icones  ad  vivum  exfressee,  Instrumenti  being  changed  to  Testamenti  in 
the  second  and  later  issues. 

6 


HANS  HOLBEIN 

expected  that  success  would  only  be  achieved  by  an  artist  of  the 
highest  imaginative  power.  But  even  here  the  directness  of  his  out- 
look on  life  lends  a  vigour  to  his  presentation  which  a  more  subtly 
imaginative  rendering  might  have  lost. 

The  subject  of  the  Danse  Macabre*  was  typically  medieval,  and 
Holbein's  treatment  of  the  theme  still  partakes  of  the  simple  medieval 
spirit.  The  conventional  skeleton  is  made  a  thoroughly  living,  and 
almost  sympathetic  figure,  and  terrible  less  in  himself  than  in  the 
occasional  fear  he  inspires  in  his  victims.  But  Holbein  often  leaves 
terror  on  one  side,  and  attempts  no  more  than  some  common  incident 
from  daily  life,  in  which  Death  plays  his  part  unrecognised  by  the 
actors,  and  only  lends  a  pathos  to  the  scene  in  the  spectator's  eyes. 

Death  was  never  so  present  in  life  as  in  the  adventurous  times  of 
the  later  Middle  Ages  in  Europe,  and  it  was  natural  that  popular 
poems  and  miracle  plays  should  have  been  composed  to  fire  the 
popular  imagination,  through  fear  of  sudden  death,  to  right  living  and 
religious  devotion.  The  thirteenth  century  poem  of  the  Three  Dead 
and  the  Three  Living  (wherein  the  three  living  are  accosted  by  the 
spectres  with  the  words  "  What  you  are,  that  were  we  ;  what  we  are, 
that  you  will  be "),  and  Petrarch's  Triumph  of  Death  are  other 
examples  analogous  to  the  miracle  plays.  It  was  these  miracle  plays 
which  must  have  inspired  the  numerous  series  of  paintings  of  the 
Dance  of  Death  in  cloister  and  church, f  and  found  their  final  and 
most  typical  illustration  in  Holbein's  wonderful  cuts. 

In  this  Dance  of^Death^.  which  was  first  published  by  the  brothers 
Trechsel  of  Lyons  in  the  same  year  as  the  Old  Testament  Illustra- 
tions, there  is  no  mention  of  Holbein  as  the  author.  The  dedicatory 

*  The  origin  of  this  title,  popularly  connected  with  a  mythical  poet 
Macaber,  is  obscure.  It  is  probably  the  French  rendering  of  the  medieval 
Latin  Chorea  Machab&orum.  In  this  dance,  of  which  there  is  mention  in 
the  fifteenth  century,  the  characters  apparently  fell  out  one  by  one  as 
Death  appeared,  and  from  its  title  it  is  likely  that  the  seven  Maccabees 
played  the  chief  roles.  See  Grimm,  Deutsche  Mythohgie,  1835,  p.  495, 
and  Du  Cange,  Glossarium  mediae  Latinitatis,  IV  (1845).  Douce  less 
plausibly  suggests  derivation  from  Macairus,  the  hermit  traditionally  con- 
nected with  the  story  of  the  Three  Dead  and  the  Three  Living  (see  Vasari, 
on  Orcagna  and  the  fresco  at  Pisa). 

t  E.g.,  Klingenthalkloster,  Basle  (i4th  century),  Predigerkloster,  Basle, 
Paris  (Cloister  of  the  Innocents),  Old  St.  Paul's,  London  (i5th  century). 

J  First  issued  with  the  title  Les  Sitnulachres  et  hiitoric'es  faces  de  la  Mori  ; 
later  as  Let  Images  de  la  Mart,  Imagines  or  hones  Mortis,  etc. 

7 


GREAT  ENGRAVERS 

epistle  by  Jean  de  Vauzelle  regrets  the  death  of  "  celuy  qui  nous  en 
a  icy  imaging  si  Elegantes  figures,"  which  could  only  refer  to  Hans 
Ltitzelburger  the  woodcutter,  who  died  in  1526.  Why  Holbein's 
name  appears  in  no  edition  of  this  series  is  a  question  that  has  been 
variously  answered.  Probably  Woltmann  is  right  in  suggesting  that 
the  authorship  needed  to  be  veiled  and  the  book  dedicated  to  an 
abbess  to  secure  it  from  the  censor  in  view  of  its  pronounced  pro- 
testant  and  satirical  tendencies.  In  any  case  in  spite  of  the  editor's 
words,  Hans  Liitzelburger,  whose  signature  appears  on  the  cut  of 
the  Duchess  (36),  can  only  be  regarded  as  the  cutter  of  the  designs. 
Apart  from  tradition,  absolute  proof  is  furnished  by  the  presence  of 
the  first  four  cuts  of  the  Dance  of  Death  in  the  separate  issues  of  the 
Old  Testament  Illustrations.  The  latter  series  was  also  published 
anonymously  on  its  first  issue,  but  in  the  second  and  following  issues 
(1539,  &c.),  verses  are  added  in  praise  of  Holbein,  as  well  as  a  distich 
by  Nicolas  Bourbon  de  Vandceuvre  directly  attributing  the  authorship. 

Both  series  must  have  been  designed  and,  to  a  large  extent,  cut  in 
the  three  or  four  years  preceding  Liitzelburger's  death  in  1526.  A 
set  of  contemporary  drawings  copied  from  twenty-three  cuts  of  the 
Dance  of 'Death,  now  preserved  in  Berlin,  is  dated  1527.  From  the 
preface  to  the  Dance  of  Death  it  would  appear  that  Hans  Liitzelburger 
had  left  various  blocks  with  the  designs  traced  upon  them  ready  for 
cutting,  but  that  the  publishers  had  hitherto  failed  to  find  a  successor 
worthy  of  completing  the  work.  We  may  assume,  in  consequence, 
that  the  first  edition  of  1538  was  throughout  cut  by  Liitzelburger. 
It  was  only  for  the  editions  of  1545  and  1562  that  the  other  blocks 
were  completed. 

In  regard  to  the  Old  Testament  Illustrations  we  have  no  such 
guide  as  to  which  of  the  cuts  are  by  Liitzelburger,  for  the  series  was 
already  complete  in  the  first  edition,  and  the  set  of  early  proofs 
belonging  to  the  Basle  Museum  also  shows  the  complete  series.  But 
there  is  no  difficulty  in  distinguishing  the  crudeness  of  such  blocks 
as  the  Zechariah  (90)  and  the  Joel  (86)  from  the  genius  for  cutting 
shown  in  others  like  the  Destruction  of  Pharaoh's  Host  (13),  with 
its  wonderfully  subtle  rendering  of  multitudes  and  aerial  perspective 
on  so  small  a  scale.  Many  of  the  earlier  cuts  are  almost  as  broad  in 
their  lineal  character  as  the  Zechariah,  but  the  Hannah  and  Elkanah 
(33)  is  enough  to  show  the  distinction  in  expressive  power. 
Probably  Holbein  supplied  designs  which  were  to  be  followed  line  by 
line  by  his  cutter — and  in  general  cutters  are  forgotten  as  mere  efficient 
craftsmen  ;  but  in  this  case  the  work  of  reproduction  is  so  superlative, 
not  only  in  its  perfect  delicacy  but  in  its  revelation  of  subtle  varieties 
8 


HANS  HOLBEIN 

of  tone  and  expression  achieved  with  the  fewest  lines,  that  we  must 
always  think  of  the  work  as  the  most  perfect  collaboration  of  two 
artists  of  genius. 

From  the  technical  point  of  view  it  is  interesting  to  compare  the 
copies  of  the  Dance  of  Death  engraved  on  wood  by  Thomas  Bewick, 
almost  entirely  in  his  white-line  method,  and  published  under  the 
title  Emblems  of  Mortality,  London,  1789.  Ltitzelburger,  like  nearly 
all  the  early  cutters,  worked  in  the  negative  method,  clearing  away  all 
the  wood  on  the  white  portions  of  the  design,  leaving  the  lines  in 
relief  to  print  black.  Bewick  found  that  the  most  direct  method  for 
the  wood-engraver  was  to  treat  the  surface  of  the  block  as  a  black 
ground,  and  to  engrave  *  the  lines  of  the  design  into  this  to  print 
white,  the  ink  being,  of  course,  printed  from  the  surface,  not  pulled 
out  of  the  incised  lines  as  in  line-engraving  and  etching.  The  com- 
parison of  Bewick's  very  pedestrian  work  serves  also  to  show  the 
perfection  of  expressive  and  subtle  line  attained  by  Holbein  and  his 
original  translator. 

The  Dance  of  Death  is  known  in  five  complete  sets  of  proofs  with 
German  titles,  evidently  printed  at  Basle,  and  now  preserved  in  Paris, 
Carlsruhe,  Basle,  Berlin,  and  the  British  Museum.  They  are  printed 
in  much  blacker  ink  than  the  Lyons  editions,  and  included  everything 
of  the  first  Lyons  edition  except  the  Astronomer.  On  the  other  hand, 
only  one  set  of  proofs  of  the  Old  Testament  Illustrations  is  known — 
that  preserved  at  Basle. 

Each  series  was  first  published  by  the  brothers  Trechsel  t  in  small 
quarto  form,  with  one  cut  on  each  page  ;  but  the  later  editions  of  the 
Dance  of  Death  (though  practically  no  smaller  in  form)  are  in  octavo. 
They  both  went  through  a  large  number  of  editions  in  the  twenty 
years  or  so  succeeding  first  publication. 

The  complete  set  of  designs  for  the  Dance  of  Death  did  not  appear, 
as  we  have  already  indicated,  before  the  edition  of  1562,  but  the 
supplementary  cuts  in  both  the  1545  and  1562  issues  were  partly 
subjects  alien  to  the  main  thesis.  Perhaps  Holbein  may  have 
originally  intended  these  gambols  and  triumphs  of  children  to  form  a 
part  of  his  scheme  in  a  sort  of  symbolic  reference  to  the  young  life 
that  has  no  thought  of  death. 

Each  subject  had  a  verse  from  Scripture  at  its  head,  and  a  French 
quatrain  by  Gilles  Corozet  at  the  foot,  the  latter  being  translated 

*  Using  the  burin  (the  same  tool  as  the  line-engraver's)  not  the  knife  of 
the  early  cutters. 

f  The  succeeding  editions  by  the  brothers  Frellon. 

9 


GREAT  ENGRAVERS 

for  the  Latin   edition  by  Luther's   brother-in-law,  George  Oemmel 
(Aemilius). 

Apart  from  the  small  quarto  editions,  the  Old  Testament  cuts 
appeared  in  various  folio  Bibles  issued  by  Trechsel  and  Frellon  at 
Lyons  (1538,  1544,  and  1551). 

In  Holbein's  treatment  of  the  different  subjects  there  must  of 
course  have  been  a  considerable  element  of  convention,  and  a  large 
number  were  directly  suggested  by  the  attractive  little  Venetian  cuts 
of  the  Malermi  Bible  of  1490,  which  in  its  turn  had  drawn  freely 
from  the  Cologne  Bible  of  1480.  But  Holbein's  work  so  far  surpasses 
anything  in  the  Malermi  Bible,  turning  shorthand  symbols  into  real  life, 
that  it  has  established  a  permanent  appeal  to  the  popular  imagination 
while  the  other  remains  the  more  exclusive  delight  of  the  antiquarian. 

I  have  not  attempted  to  give  a  complete  list  of  Holbein's  cuts  out- 
side the  two  famous  series.  Since  Woltmann's  book  (which  is  still 
the  standard  catalogue  of  Holbein's  work)  research  has  brought  many 
other  illustrations  into  relation  with  Holbein.  All  I  will  do  here  is 
to  refer  the  student  to  the  most  recent  literature,  and  to  give  a  few 
representative  illustrations. 

The  small  woodcut  Initials  with  the  Dance  of  Death^  which  was 
issued  with  Lutzelburger's  name  attached,  is  a  tour  de  force  in  its 
perfect  precision  of  cutting  and  in  the  wonderful  adaptation  of  these 
designs  in  so  small  a  compass.*  The  Initials  with  Illustrations  to  the 
Old  Testament"^  are  somewhat  larger,  but  hardly  equal  in  merit  to  the 
former  set.  Both  are  known  in  proof  impressions,  and  were  used  in 
numerous  books  printed  at  Basle. 

The  Portrait  of  Erasmus  is  a  masterpiece  of  portraiture  in  woodcut, 
as  well  as  one  of  the  most  perfect  examples  of  Renaissance  decorative 
art.  DibdinJ  states  that  the  second  state  was  issued  as  frontispiece  to 
Erasmus's  collected  works  (Basle,  1540),  but  Woltmann  was  unable 
to  authenticate  this.  Its  plastic  qualities  would  render  it  a  perfect 
design  for  a  sculpture  monument. 

In  England  Holbein  was  too  occupied  with  his  larger  works  to 
devote  much  time  to  book  illustration.  The  English  cutters  were 
far  inferior  to  Ltttzelburger  and  his  Basle  contemporaries,  but  the  two 
examples  given  from  Cranmer's  "Catechism"  of  1548,35  well  as 
another,  the  Christ  as  the  Good  Shepherd  in  a  "  Little  Treatise"  by 
Urbanus  Rhegius  (also  published  byW.  Lynne  in  1548),  show  that  even 
cruder  cutting  failed  to  impair  Holbein's  vivid  and  expressive  touch. 

*  Each  initial  25  mm.  square  ;  reduced  in  our  illustrations. 

j'  Each  initial  44  mm.  square. 

j  Decameron,  i.  p.  236. 
10 


BOOKS  OF  REFERENCE 

DIBDIN,  T.   F.     Bibliographical  Decameron.     London   1817.     (Vol.   I,  p. 

33,  etc). 
DOUCE,  F.     The  Dance  of  Death  exhibited  in  elegant  engravings  on  wood  ; 

with  a  dissertation  on  the  several  representations  of  that  subject,  but 

more    particularly    those    ascribed    to    Macaber    and    Hans    Holbein. 

London  1833 
RUMOHR,  C.  F.  von.     Hans  Holbein  der  jungere  in  seinem  Verhaltniss  zum 

deutschen  Formschnittwesen.     Leipzig  1836 
MASSMANN,  H.  F.     Literatur  der  Totentanze.     Leipzig  1840 
PASSAVANT,  J.  D.     Peintre-graveur.     Vol.  Ill  (1862),  p.  353 
WOLTMANN,  Alfred.     Holbein  und  seine  Zeit.     2  vols.  Leipzig  1866-68. 

2nd  Ed.,  1874-76.     (This  still  remains  the  standard  work  on  Holbein. 

It  contains  a  catalogue  of  his  woodcut  work) 
WORNUM,  R.  N.      Some  account  of  the  life  and  works   of  Hans   Holbein, 

painter  of  Augsburg.     London  1867 
His,  E.     Hans  Liitzelburger  le  graveur  des  simulacres  de  la  mort  d'Holbein. 

Gazette  des  "Beaux  Arts,  2e  per.  IV  (1871),  481 
VOGELIN,    S.       Erganzungen    und    Nachweisungen   zum  Holzschnittwerk 

Hans    Holbeins    des  jungeren.       Repertorium  fur  Kunstwisscnschajt,   II 

(1877)  162,  312,  V.  179 
LOGA,  V.  von.     Der  Triumph  des  Jacobus  Castricus.     Jahrbuch  der  Treuss. 

T^unstsammlungen,  XV  (1894),  58 

GOETTE,  A.      Holbein's  Totentanz  und  seine  Vorbilder.      Strassburg    1897 
SCHMIDT,  H.  A.     Holbein's  Thatigkeit  fur  die  Baseler  Verleger.     Jahrbuch 

der  Preuss.  J^unstsammlungen,  XX,  233 

SCHNEELI,  G.,  and  HEITZ,  P.     Initialen  von  Holbein.     Strassburg  1900 
DAVIES,  Gerald  S.     Hans  Holbein  the  younger.      London  1903 
DODGSON,  Campell.     Neues  fiber  Holbein's  Metallschnitte  zum  Vaterunser. 

Mitteilungen  der  Geselhch.  fur  vervielfaltig.  T^unst.  1903,  p.  I,  and  1905, 

p.  10 

Das  Holzschnitt  portrat  von  N.  Borbonius.     Mitteilungen,  1908,  p.  37 
KOEGLER,  Hans.  Erganzungen  zum  Holzschnittwerk  des  Hans  und  Ambrosius 

Holbein.     Jahrbuch  der  Preuss.  Kunstsamml.  XXVIII  (1907).     Beiheft, 

p.  85. 

Hans   Holbein's  Holzschnitte  fiir  Sebastian    Miinster's  "Instrument 

iiber  die  zwei  Lichter"  (Basel  1534).     Jahrbuch,  XXXI,  254. 

Kleine  Beitrage.      ZMonatshefte filr  Kunstwissenschaft    IV  (1911),  389 
MAJOR,  E.    Easier  Horologien  biicher  mit  Holzschnitten  von  Hans  Holbein. 

Monatshefte,  IV  (1911),  77 
GANZ,  Paul.    HansHolbein.    Stuttgart  1911  (Klassiker der Kunst).   Contains 

a  complete  reproduction  of  Holbein's  paintings 

Die  Handzeichnungen  Hans  Holbeins  des  jungeren.    Berlin  191 1,  etc. 

II 


LIST    OF    PLATES 

The  Frontispiece  is  No.  38  from  the  Dance  of  Death. 

OLD  TESTAMENT  CUTS 

The  order  of  the  original  publication,  that  of  the  Vulgate,  is  preserved. 
The  cuts  are  reproduced  complete  with  the  exception  of  seven  purely 
decorative  subjects  of  little  artistic  interest. 


1.  The  Fall.    Genesis,  iii.    'This  cut 
does  not  occur  in  the  separately  printed 
series  of  the  cuts,  but  occurs  in  several 
of  the  editions  of  the  Old  Testament 
published  at    Basle    (e.g.   7 'reck' el, 

1538,  and  Frelhn,  1551).  ///  place 
was  regularly  taken  in  the  series  by 
the  first  four  subjects  of  the  Dance  of 
Death. 

2.  Noah's  Ark.     Genesis,  vii 

3.  The   Building  of  the  Tower  of 
Babel.     Genesis,  xi 

4.  Abraham  and  the  Three  Angels. 
Genesis,  xviii 

5.  Abraham's    Sacrifice.     Genesis, 
xxii 

6.  Isaac   Blessing  Jacob.     Genesis, 
xxvii 

7.  Joseph     in    the    Pit.     Genesis, 
xxxvii 

8.  Pharaoh's  Dreams.    Genesis,  xli 

9.  Jacob    Blessing     Ephraim     and 
Manasseh.     Genesis,  xlviii 

10.  The  Burial  of  Joseph.  Exodus,  i 

11.  Moses  and  the   Burning   Bush. 
Exodus,  iii 

12.  Moses  and  Aaron  before  Pharaoh. 
Kxodus,  v 

13.  The   Destruction  of  Pharaoh's 
Host.     Exodus,  xiv  and  xv 

14.  The   Gathering  of  the  Manna. 
Exodus,  xv  i 

15.  Moses  on  Mount  Sinai.  Exodus, 
xix 

17.   Moses  Receiving  the  Tables  of 

the  Law.     Exodus,  xxxiv 
12 


1 8.  Moses  Receiving  God's  Law  of 
the  Burnt  Offerings.     Leviticus,  i 

19.  Moses  Receiving  God's  Law  of 
the  Consecration  of  Priests.   Levi- 
ticus, viii 

20.  Nadab  and  Abihu,  for  Offering 
Strange   Sacrifices,   are   Burnt   by 
Fire.     Leviticus,  x 

21.  Moses   Receiving  God's  Law  of 
the  Harvest  and  Gleanings.  Levi- 
ticus, xix 

22.  Moses    and  Aaron    Numbering 
the  People.     Numbers,  i 

24.  The   Destruction  of  Korah  and 
his  Followers.     Numbers,  xvi 

25.  The  Brazen  Serpent.    Numbers, 
xxi 

26.  Moses  and  the  Midianite  Wo- 
men    and     Children.     Numbers, 
xxxi 

27.  Moses  Addressing  the  People  of 
Israel.     Deuteronomy,  i 

28.  Moses   Exhorting  the  People  to 
Obedience.     Deuteronomy,  iv 

29.  Moses  Addressing   the  Levites. 
Deuteronomy,  xviii 

30.  Joshua   and  the    Kings  that  he 
had  Smitten.     Joshua,  xii 

31.  Adoni-BezekMutilated.  Judges, 
i 

32.  Ruth  Gleaning  in  the  Fields  of 
Boaz.     Ruth,  ii 

33.  Hannah  and  Elkanah.     I  Sam- 
uel, i 

34.  Samuel     Anointing     Saul.        I 
Samuel,  x 


35.  David  and  Goliath.     I  Samuel, 
xvii 

36.  David  Hearing  of  the  Philistines 
Fighting     Against      Keilah.        I 
Samuel,  xxiii 

37.  David  Hearing  of  Saul's  Death. 
2  Samuel,  i 

38.  David  Subduing   His  Enemies. 
2  Samuel,  viii 

39.  David   and    Uriah.     2   Samuel, 
xi 

40.  Nathan  before  David.  2  Samuel, 
xii 

41.  David     and     the    Woman     of 
Tekoah.     2  Samuel,  xiv 

42.  The    Murder    of    Amasa.       2 
Samuel,  xx 

43.  David  and  Abishag.     I  Kings,  i 

44.  Hiram's  Messenger  before  Solo- 
mon.     I  Kings,  v 

45.  The  Prophet  Ahijah  and  Jero- 
boam's Wife.     I  Kings,  xiv 

46.  Elijah's    Sacrifice.        i     Kings, 
xviii 

47.  The  Children  Mocking   Elisha. 
2  Kings,  ii 

48.  Jehoiada,      the     Priest,     Com- 
manding  Athaliah's     Death.      2 
Kings,  xi 

49.  Ahaz's  Offering.     2  Kings,  xvi 

50.  Josiah  Causing  the  Book  of  the 
Law  to  be  Read  in  a  Solemn  As- 
sembly.     2  Kings,  xxiii 

51.  Rehearsing    the    Genealogy    of 
Israel.     I  Chronicles,  i 

52.  Saul's  Head  and  Armour  Brought 
into  the  Temple  of  the    Philis- 
tines.    I  Chronicles,  x 

53.  The  Levites  Playing  Before  the 
Ark.      i  Chronicles,  xvi 

54.  Solomon's    Prayer.     2   Chroni- 
cles, i 

55.  Solomon  Blesses  the  People.     2 
Chronicles,  vi 


HANS  HOLBEIN 

56.  Shishak     Carrying     Away    the 
Treasures    of    the    Temple.       2 
Chronicles,  xii 

57.  The       Destruction      of     Sen- 
nacherib's   Host.     2    Chronicles, 
xxx  ii 

58.  The   Return   of  the  Jews  from 
Captivity.     Ezra,  i 

59.  Nehemiah's      Prayer.       Nehe- 
miah,  i 

60.  Josiah     Keeps     the     Passover. 
Apocrypha  :     i    Esdras,   i   (also  2 
Chronicles,  xxxv) 

61.  The  Blindness  of  Tobit.     Apo- 
crypha :  Tobit,  i  and  ii 

62.  Job    in    his    Mourning    Blesses 
God.     Job,  i 

63.  Job  and  Eliphaz.     Job.  xv 

64.  God  Answers  Job.    Job,  xxxviii 
and  xlii 

65.  Esther  Before  Ahasuerus.  Esther, 
i  and  ii 

66.  Judith    Sets    Forth   From    the 
City.     Apocrypha  :  Judith,  x 

67.  Judith  with  the  Head  of  Holo- 
fernes.     Apocrypha  :  Judith,  xiii 

68.  David    Writing     the     Psalms. 
Psalms,  i 

69.  The  Fool.     Psalms,  liii 

70.  The  Lord  said  unto  my  Lord, 
Sit    thou     at    my    right     hand. 
Psalms,  ex 

71.  The  Lovers.  Song  of  Solomon,  i 

72.  Isaiah   Lamenting  over   Jerusa- 
lem.    Isaiah,  i 

73.  Isaiah    and    the  Vision    of  the 
Lord.     Isaiah,  vi 

75.  Ezekiel's  Vision.      Ezekiel,  i 

79.  The    Fiery    Furnace.      Daniel, 
iii  (and    Apocrypha  :    The   Song 
of  the  Three  Holy  Children) 

80.  Daniel's    Vision    of    the    Four 
Beasts.      Daniel,  vii 

81.  Gabriel  Interprets  the  Vision  of 

13 


GREAT  ENGRAVERS 

the  Ram  and  the  Goat.     Daniel, 
viii 

83.  Daniel,  Susanna  and  the  Elders. 
Apocrypha  :  Susanna 

84.  Daniel     in     the    Lion's    Den. 
(Daniel,  vi,  and  Apocrypha  :   Bel 
and  the  Dragon) 

85.  Hosea  and  his  Wife.     Hosea,  i 

86.  Joel.  Joel,  i 

87.  Amos  Teaching.     Amos,  i 


88.  Jonah  and  Nineveh.     Jonah,  i, 
ii  and  iii 

89.  Habakkuk  about  to  take  Dinner 
to  the  Reapers,  is  commanded  by 
the  Angel  to  carry  it  to  Daniel. 
Aprocrypha:  Bel  and  the  Dragon, 

33?  34 

90.  Zechariah.     Zechariah,  i 

91.  The  Vision    of  the  Horseman 
over  Jerusalem.     2  Maccabees,  v 


DANCE  OF  DEATH 

The  order  followed  is  that  of  the  edition  of  1562.  The  reproductions 
are  numbered  according  to  this  order,  but  their  arrangement  on  the  plates 
after  No.  44  has  been  slightly  altered  to  bring  kindred  subjects  together. 
In  the  original  book  only  one  cut  occurs  on  each  page.  The  first  edition 
of  1538  (probably  Liitzelburger's  work  in  its  entirety)  contained  Nos.  1-39 
and  56  and  57.  To  the  edition  of  1545  were  added  Nos.  40-45,  and  48- 
53,  and  to  that  of  1562  Nos.  46,  47,  54,  55  and  58. 


1.  The  Creation  23, 

2.  The  Fall  2j. 

3.  Adam  and  Eve  driven   from  the      25. 
Garden  of  Eden  26. 

4.  Adam  Tilling  the  Ground  27. 

5.  The  Trumpeters  of  Death  28. 

6.  Pope  29. 

7.  Emperor  30. 

8.  King  31. 

9.  Cardinal  32. 

10.  Empress  33. 

1 1.  Queen  34. 

12.  Bishop  35. 

13.  Duke  36. 

14.  Abbot  37. 

15.  Abbess  38. 

16.  Nobleman  39. 

17.  Canon  40. 

18.  Judge  41. 

19.  Advocate  42. 

20.  Councillor  43. 

21.  Preacher  44. 

22.  Pastor  45. 


Monk 

Nun 

Old  Woman 

Doctor 

Astronomer 

Miser 

Merchant 

Sailor 

Knight 

Earl 

Old  Man 

Countess 

Noblewoman 

Duchess 

Pedlar 

Ploughman.     Frontispiece 

Child 

Soldier 

Robber 

Drinkers 

Fool 

Gamblers 

Children's  Triumph:  The  Victor 


46.  Young  Wife 

47.  Young  Husband 

48.  Children's    Triumph  :    The 
Standard-bearer 

49.  Blind  Man 

50.  Carter 

5  i .  Sick  Beggar 

52.  Child  with  Shield  and  Arrow 


HANS  HOLBEIN 

53.  Children,  one  carrying  a  Hare 

54.  Children  with  Grapes  and  Vine 
Leaves 

55.  Children  with  a  Suit  of  Armour 

56.  The  Last  Judgement 

57.  The  Coat  of  Arms  of  Death 

58.  Children    with   Trumpets   and 
Drum 


MISCELLANEOUS  CUTS 


1.  St.  Paul.      From  the  New  Testa- 
ment in  Greek,  Basle  (T.  Platter), 
1540.     Woltmann,  192 

Two  cuts  from  Cranmer's  Catechism. 
London  (W.  Lynne)  1548.  Wolt- 
mann, 198  and  199 

2.  The  Pharisee  and   the    Publican 
(p.  6) 

3.  Christ  Healing  the  Man  Possessed 
of  a  Devil  (p.  102) 

4.  Portrait  of  Erasmus.    Woltmann, 
206.    Second  state.    The  first  state 
hadan  inscription  of  two  lines  only. 


5.  Title-page  Border  to  the  German 
New    Testament,    Basle     (Adam 
Petri),  1522-3.      Woltmann,  215 

6.  The  Alphabet  with  the  Dance  of 
of  Death.    Woltmann,  252.    a  The 
Trumpeters    of  Death,     b  Pope. 
c  Emperor,     d  King,    e  Cardinal. 

^Empress,  g  Queen,  h  Bishop. 
i  Duke,  k  Earl.  /Canon,  m  Doctor. 
»  Rich  man.  o  Monk,  p  Soldier. 
q Nun.  rFool.  .rMaid.  /Drunkard. 
v  Rider,  w  Hermit,  x  Gamblers. 
y  Infant,  z  Last  Judgement. 

Basle 


The  title-page  border  was  first  used  in  TSreve  Leonis  X  ad  Erasmum. 
1515.      Woltmann,  234. 

The  decorative  piece  at  the  back  of  the  title-page  is  the  printer's  mark 
of  R.  Wolfe,  London.     Woltmann,  249. 


OLD  TESTAMENT  CUTS 

1.  THE  FALL.     Genesis,  iii 

This  cut  does  not  occur  in  the  separately  printed  series  of  the  cuts,  but 
occurs  in  several  of  the  editions  of  the  Old  Testament  published  at  Basle 
(e.g.,  Trechsel,  1538,  and  Frellon,  1551) 

2.  NOAH'S  ARK.    Genesis,  vii 


H    I 


OLD  TESTAMENT  CUTS 

3.  THE  BUILDING  OF  THE  TOWER  OF  BABEL.    Genesis,  xi 

4.  ABRAHAM  AND  THE  THREE  ANGELS.    Genesis,  xviii 


OLD  TESTAMENT  CUTS 

5.  ABRAHAM'S  SACRIFICE.    Genesis,  xxii 

6.  ISAAC  BLESSING  JACOB.    Genesis,  xxvii 


OLD  TESTAMENT  CUTS 

7.  JOSEPH  IN  THE  PIT.    Genesis,  xxxvii 

8.  PHARAOH'S  DREAMS.    Genesis,  xli 


OLD  TESTAMENT  CUTS 

9.  JACOB  BLESSING  EPHRAIM  AND  MANASSEH.    Genesis,  xlviii 
10.  THE  BURIAL  OF  JOSEPH.    Exodus,  i 


OLD  TESTAMENT  CUTS 

11.  MOSES  AND  THE  BURNING  BUSH.    Exodus,  iii 

12.  MOSES  AND  AARON  BEFORE  PHARAOH.    Exodus,  v 


OLD  TESTAMENT  CUTS 

13.  THE  DESTRUCTION  OF  PHARAOH'S  HOST.     Exodus,  xiv  and  xv 

14.  THE  GATHERING  OF  THE  MANNA.    Exodus,  xvi 


OLD  TESTAMENT  CUTS 
15.  MOSES  ON  MOUNT  SINAI.    Exodus,  xix 
17.  MOSES  RECEIVING  THE  TABLES  OF  THE  LAW.    Exodus,  xxxir 


/ 

_ —  •'<''  _: 


OLD  TESTAMENT  CUTS 

18.  MOSES  RECEIVING  GOD'S  LAW  OF  THE  BURNT  OFFERINGS. 

Leviticus,  i 

19.  MOSES  RECEIVING  GOD'S  LAW  OF  THE  CONSECRATION  OF 

PRIESTS.    Leviticus,  viii 


OLD  TESTAMENT  CUTS 

20.  NADAB  AND  ABIHU,  FOR  OFFERING  STRANGE  SACRIFICES, 

ARE  BURNT  BY  FIRE.     Leviticus,  x 

21.  MOSES    RECEIVING    GOD'S    LAW  OF  THE    HARVEST  AND 

GLEANINGS.    Leviticus,  xix 


^SL^^>"  Afcfell^F^fel/  ^ 


OLD  TESTAMENT  CUTS 
22.  MOSES  AND  AARON  NUMBERING  THE  PEOPLE.    Numbers,  i 

24.  THE    DESTRUCTION    OF    KORAH   AND    HIS   FOLLOWERS. 

Numbers,  xvi. 


OLD  TESTAMENT  CUTS 

25.  THE  BRAZEN  SERPENT.    Numbers,  xxi 

26.  MOSES    AND    THE   MIDIANITE  WOMEN   AND   CHILDREN. 

Numbers,  xxxi 


OLD  TESTAMENT  CUTS 

27.  MOSES  ADDRESSING  THE  PEOPLE  OF  ISRAEL.    Deuteronomy,  i 

28.  MOSES  EXHORTING  THE  PEOPLE  TO  OBEDIENCE.    Deutero- 

nomy, iv 


OLD  TESTAMENT  CUTS 

29.  MOSES  ADDRESSING  THE  LEVITES.    Deuteronomy,  xyiii 

30.  JOSHUA  AND  THE  KINGS  THAT  HE  HAD  SMITTEN.    Joshua,  xii 


OLD  TESTAMENT  CUTS 

31.  ADONI-BEZEK  MUTILATED.    Judges,  i 

32.  RUTH  GLEANING  IN  THE  FIELDS  OF  BOAZ.    Ruth,  ii 


OLD  TESTAMENT  CUTS 
33   HANNAH  AND  ELKANAH.     i  Samuel,  i 
34.  SAMUEL  ANOINTING  SAUL,     i  Samuel,  x 


OLD  TESTAMENT  CUTS 

35.  DAVID  AND  GOLIATH.     I  Samuel,  xvii 

36.  DAVID  HEARING  OF  THE  PHILISTINES  FIGHTING  AGAINST 

KEILAH.     i  Samuel,  xxiii 


H  3 


OLD  TESTAMENT  CUTS 

37.  DAVID  HEARING  OF  SAUL'S  DEATH.    2  Samuel,  I 

38.  DAVID  SUBDUING  HIS  ENEMIES.    2  Samuel,  viii 


OLD  TESTAMENT  CUTS 

39.  DAVID  AND  URIAH.    2  Samuel,  xi 

40.  NATHAN  BEFORE  DAVID.    2  Samuel,  xii 


OLD  TESTAMENT  CUTS 

41  DAVID  AND  THE  WOMAN  OF  TEKOAH.    2  Samuel,  xiv 
42.  THE  MURDER  OF  AMASA.    2  Samuel,  xx 


OLD  TESTAMENT  CUTS 

43.  DAVID  AND  ABISHAG.     i  Kings,  i 

44.  HIRAM'S  MESSENGER  BEFORE  SOLOMON*     i  Kings,  v 


OLD  TESTAMENT  CUTS 

45.  THE  PROPHET  AHIJAH  AND  JEROBOAM'S  WIFE,      i  Kings,  xiv 

46.  ELIJAH'S  SACRIFICE,     i  Kings,  xviii 


OLD  TESTAMENT  CUTS 
17.  THE  CHILDREN  MOCKING  ELISHA.    2  Kings,  ii 

48.  JEHOIADA,      THE     PRIEST,     COMMANDING     ATHALIAH'S 
DEATH.     2  Kings,  xi 


OLD  TESTAMENT  CUTS 

49.  AHAZ'S  OFFERING.    2  Kings,  xvi 

50.  JOSIAH  CAUSING  THE  BOOK  OF  THE  LAW  TO  BE  READ  IN 

A  SOLEMN  ASSEMBLY.     2  Kings,  xxiii 


OLD  TESTAMENT  CUTS 

51.  REHEARSING  THE  GENEALOGY  OF  ISRAEL,     i  Chronicles,! 

52.  SAUL'S  HEAD  AND  ARMOUR  BROUGHT  INTO  THE  TEMPLE 

OF  THE  PHILISTINES,     i  Chronicles,  x 


H  4 


OLD  TESTAMENT  CUTS 

53.  THE  LEVITES  PLAYING  BEFORE  THE  ARK.    i  Chronicles,  xvi 

54.  SOLOMON'S  PRAYER.    2  Chronicles,  i 


OLD  TESTAMENT  CUTS 

55.  SOLOMON  BLESSES  THE  PEOPLE.    2  Chronicles,  vi 

56.  SHISHAK    CARRYING     AWAY    THE    TREASURES    OF   THE 

TEMPLE.     2  Chronicles,  xii 


OLD  TESTAMENT  CUTS 

57.  THE  DESTRUCTION  OF  SENNACHERIB'S  HOST.    2  Chronicles, 

xxxii 

58.  THE  RETURN  OF  THE  JEWS  FROM  CAPTIVITY.    Ezra,  i 


OLD  TESTAMENT  CUTS 

59.  NEHEMIAH'S  PRAYER.    Nehemiah,  i 

60.  JOSIAH   KEEPS   THE    PASSOVER.    Apocrypha  :    I    Esdras,  i  (also 

2  Chronicles,  xxxv) 


OLD  TESTAMENT  CUTS 

61.  THE  BLINDNESS  OF  TOBIT.    Apocrypha  :  Tobit,  i  and  ii 

62.  JOB  IN  HIS  MOURNING  BLESSES  GOD.    Job,  i 


OLD  TESTAMENT  CUTS 

63.  JOB  AND  ELIPHAZ.    Job,  xv 

64.  GOD  ANSWERS  JOB.    Job,  xxxviii  and  xlii 


OLD  TESTAMENT  CUTS 

65.  ESTHER  BEFORE  AHASUERUS.    Esther,  i  and  ii 

66.  JUDITH  SETS  FORTH  FROM  THE  CITY.    Apocrypha  :  Judith,  x 


OLD  TESTAMENT  CUTS 

67.  JUDITH  WITH  THE    HEAD    OF    HOLOFERNES.     Apocrypha: 

Judith,  xiii 

68.  DAVID  WRITING  THE  PSALMS.    Psalms,  i 


H  5 


OLD  TESTAMENT  CUTS 

69.  THE  FOOL.    Psalms,  liii 

70.  THE    LORD    SAID    UNTO    MY    LORD,    SIT  THOU  AT  MY 

RIGHT  HAND.    Psalms,  ex 


OLD  TESTAMENT  CUTS 

71.  THE  LOVERS.     Song  of  Solomon,  i 

72.  ISAIAH  LAMENTING  OVER  JERUSALEM.    Isaiah,  i 


OLD  TESTAMENT  CUTS 

73.  ISAIAH  AND  THE  VISION  OF  THE  LORD.    Isaiah,  vi 
75.  EZEKIEL'S  VISION.    Ezekiel,  i 


OLD  TESTAMENT  CUTS 

79.  THE  FIERY  FURNACE.     Daniel,  iii   (and  Apocrypha  :  The  Song  of 
the  Three  Holy  Children) 

So.  DANIEL'S  VISION  OF  THE  FOUR  BEASTS.    Daniel,  vii 


OLD  TESTAMENT  CUTS 

81.  GABRIEL    INTERPRETS    THE   VISION   OF  THE  RAM    AND 
THE  GOAT.     Daniel,  viii 

83.  DANIEL,  SUSANNA  AND  THE  ELDERS.    Apocrypha  :  Susanna 


OLD  TESTAMENT  CUTS 

84.  DANIEL  IN  THE  LION'S  DEN.     (Daniel,  vi,  and  Apocrypha  :    Bel 

and  the  Dragon) 

85.  HOSEA  AND  HIS  WIFE.    Hosea,  i 


OLD  TESTAMENT  CUTS 

86.  JOEL.    Joel,  i 

87.  AMOS  TEACHING.    Amos,  i 


OLD  TESTAMENT  CUTS 

88.  JONAH  AND  NINEVEH.    Jonah,  i,  ii  and  iii 

89.  HABAKKUK,  ABOUT  TO  TAKE  DINNER  TO  THE  REAPERS, 

IS  COMMANDED    BY    THE    ANGEL    TO    CARRY    IT    TO 
DANIEL.     Apocrypha  :  Bel  and  the  Dragon,  verses  33-34 


H6 


OLD  TESTAMENT  CUTS 

90.  ZECHARIAH.     Zechariah,  i 

91.  THE    VISION    OF    THE     HORSEMEN     OVER    JERUSALEM. 

2  Maccabees,  v 


DANCE  OF  DEATH 
i.  THE  CREATION  2.  THE  FALL 

3.  ADAM  AND  EVE  DRIVEN  4.  ADAM   TILLING  THE 

FROM  THE  GARDEN  OF  GROUND 

EDEN 


DANCE  OF  DEATH 

5.  THE   TRUMPETERS   OF  6.  POPE 

DEATH 

7.  EMPEROR  b.  KING 


DANCE  OF  DEATH 

9.  CARDINAL  10.  EMPRESS 

ii.  QUEEN  12.  BISHOP 


DANCE  OF  DEATH 

13.  DUKE  i4.  ABBOT 

15.  ABBESS  16.  NOBLEMAN 


DANCE  OF  DEATH 

17.  CANON  1 8.  JUDGE 

19.  ADVOCATE  20.  COUNCILLOR 


DANCE  OF  DEATH 

21.  PREACHER  22.  PASTOR 

23.  MONK  24.  NUN 


DANCE  OF  DEATH 

'25.  OLD  \YOMAN  26.  DOCTOR 

27.  ASTRONOMER  28   MISER 


H  7 


DANCE  OF  DEATH 

29.  MERCHANT  30.  SAILOR 

31.  KNIGHT  32.  EARL 


DANCE  OF  DEATH 

33.  OLD  MAN  34-  COUNTESS 

35.  NOBLEWOMAN  36.  DUCHESS 


DANCE  OF  DEATH 
37.  PEDLAR  39-  CHILD 


DANCE  OF  DEATH 

40.  SOLDIER  41.  ROBBER 

42.  DRINKERS  43.  FOOL 


9 


DANCE  OF  DEATH 

44.  GAMBLERS  49-  BLIND  MAN 

50.  CARTER  51.  SICK  BEGGAR 


DANCE  OF  DEATH 
46.  YOUNG  WIFE  47.  YOUNG  HUSBAND 


DANCE  OF  DEATH 

45.  CHILDREN'S  TRIUMPH  :  48.  CHILDREN'S  TRIUMPH- 

THE  VICTOR  THE  STANDARD-BEARER 

52.  CHILD  WITH  SHIELD  53.  CHILDREN,  ONECARRY- 

AND  ARROW  ING  A  HARE 


DANCE  OF  DEATH 
58.  CHILDREN  WITH  TRUMPETS  AND  DRUM 

54.  CHILDREN  WITH  GRAPES  55.  CHILDREN  WITH  A  SUIT 

AND  VINE  LEAVES  OF  ARMOUR 


H    8 


DANCE  OF  DEATH 

56.  THE  LAST  JUDGEMENT 

57.  THE  COAT  OF  ARMS  OF  DEATH 


MISCELLANEOUS  CUTS 

I.  ST.  PAUL.    From  the  New  Testament  in  Greek,  Basle  (T.  Platter),  1540. 
Woltmann,  192 


MISCELLANEOUS  CUTS 

TWO  CUTS  FROM  CRANMER'S  CATECHISM.    London  (W.  Lynne) 
1548.     Woltmann,  198  and  199 

2.  THE  PHARISEE  AND  THE  PUBLICAN  (p.  6) 

3.  CHRIST  HEALING  THE  MAN  POSSESSED  OF  A  DEVIL  (p.  102) 


MISCELLANEOUS  CUTS 

4.  PORTRAIT  OF  ERASMUS.    Woltmann,  206 

Second  state.     The  first  had  an  inscription  of  two  lines  only. 


MISCELLANEOUS  CUTS 

5.  TITLE-PAGE   BORDER  TO  THE  GERMAN  NEW  TESTAMENT, 
Basle  (Adam  Petri),  1522-3.     Woltmann,  215 


MISCELLANEOUS  CUTS 
6.  THE  ALPHABET  WITH  THE  DANCE  OF  DEATH.    Woltmann,  252 

A.  The  Trumpeters  of  Death  G.  Queen 

B.  Pope  H.  Bishop 

C.  Emperor  I.  Duke 

D.  King  K.  Earl 

E.  Cardinal  L.  Canon. 

F.  Empress  M.  Doctor 


MISCELLANEOUS  CUTS 

6.  THE  ALPHABET  WITH  THE  DANCE   OF  DEATH   (continued). 
Woltman,  252 

N.  Rich  man  T.  Drunkard 

O.  Monk  V.  Rider 

P.  Soldier  W.  Hermit 

Q.  Nun  X.  Gamblers 

R.  Fool  Y.  Infant 

S    Maid  Z.  Last  Judgement. 


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